University of Alberta Interrogating Interculturalism: Confronting the Provocative eatricality of Ariane Mnouchkine and Shūji Terayama by Cynthia Pearl Ing A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Drama ©Cynthia Pearl Ing Fall 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. 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Examining Committee Dr. Donia Mounsef, Supervisor Drama Dr. Stefano Muneroni, Drama Dr. Rosalind Kerr, Drama Dr. Paul Dubé, Campus Saint-Jean, University of Alberta Abstract Intercultural theatre is a highly contested form of theatre. Critical discussions over its position as a revitalizing force or a colonial instrument have raged on for almost thirty years. An investigation into two theatre directors who have often been in the spotlight concerning these critical discussions, French theatre director, Ariane Mnouchkine, and Japanese cult icon, Shūji Terayama, will illuminate the possibility of moving beyond such oppositions. Both have employed Asian theatre techniques and aesthetics, specifically Japanese, to produce highly theatrical performance events which actively engage their spectators. However, their methods vary from elegant integration to confrontational provocation. An extensive exploration into both artists’ prolific theatre, and the established theories concerning the process of creating intercultural theatre postulated by a range of theorists including, Patrice Pavis, Rustom Bharucha, Jacqueline Lo and Helen Gilbert, will reveal a fresh look at interculturalism where cross-cultural theatre exists on a continuum. Table of Contents Introduction: Breaking Down Borders...................................................1 Chapter One: e Evolution of the Intercultural Debate........................6 Chapter Two: e eatricality of Transculturalism............................30 Chapter ree: e Pornography of Intraculturalism...........................48 Conclusion: Going Beyond Borders......................................................72 Works Cited........................................................................................76 Notes..................................................................................................82 Introduction: Breaking Down Borders 1 According to theatre and performance scholar Paul Allain, “Interculturalism grew out of the ideological, social, and racial aspirations of multiculturalism in the 1970s which filtered into artistic practices” (qtd. in Nascimento 4). is growth has lead to an abundance of research and debate over the position of intercultural performances for almost thirty years. Consequentially, intercultural exchanges in theatre destabilize diverse cultural practices, subvert theatrical forms, question acting styles and challenge audience reception. Generally a debate over the classification of interculturalism falls into two opposing ideals. One being a positivist perspective, where interculturalism is seen as transcending cultural difference by looking at the similarities and fusing opposing traditions into one form. e other, a more pessimistic perspective, where interculturalism is perceived as an oppressive force used to assimilate or appropriate a ‘foreign culture’. Yet, with theatre, the hybrid art par excellence, these questions take on more complex dimensions. For example, China Dream (1986) written by Chinese-American playwrights William Sun and Faye Fei, examines the clash and misconceptions perceived by both Westerners and Easterners concerning the ‘foreign other’. In their article, “China Dream: A eatrical Dialogue Between East and West” (1996), Sun and Fei proclaimed that the production was meant to interrogate “the misconceptions on both sides and the significance of East-meets-West” (191). e story goes back and forth between a romantic vision of China by an American lawyer as being the culmination of spiritual fulfillment, and the ‘American Dream’ conception created by a former Chinese actress running a Chinese restaurant in America. is intercultural production was mounted internationally in China (Beijing), Japan, and America (New York) with Introduction 2 varied reception, as the production never fully realized the writers’ intentions. e misconceptions and stereotypes of Westerners and Easterners took over the various productions. Sun and Fei had envisioned these performances to include “seamless integration of Pirandellian theatricality, Chinese traditional bare stage and the impoverished reality of the little theatres” (Sun and Fei 193). Instead, these disparate aesthetic and technical choices wrought each performance with a multitude of problems in staging and reception. e New York production had multiple issues in casting, staging and acting. Instead of having the single male actor play the multiple roles, thus maintaining the writers’ desire for Pirandellian doubling, they opted to have one Asian and one Caucasian man. is was done because Sun and Fei felt that “most Americans were not ready to accept John, a Caucasian, playing all five of the male supporting characters including two Chinese ones” (193). Additionally, the female actor mistakenly “took the play simply as a portrayal of the experiences of an Asian American actress” (Sun and Fei 193). is culmination of misconceptions created a performance which Sun and Fei felt looked “like another immigrant story in the mixed style of exoticism and selective realism” (193). us what is conceived, and what is actually produced and received, presents intercultural theatre practitioners with the dilemma of representation. is dilemma has been the core issue of intercultural exchange in performance since intercultural theatre in its ideal form is to “maintain equitable power relations between partners […] not a harmonious experience of theatre-making but rather to explore the fullness of cultural exchange in all its contradictions and convergences for all parties” (Lo and Gilbert 39). Jacqueline Lo and Helen Gilbert make note of how the mere word ‘cross’ spells controversy Introduction 3 in such cross-cultural exchanges found in intercultural theatre. is controversy lies in the fact that ‘cross’ can connote the positive conception of hybridity or the “deception or misrepresentation, as in to ‘double-cross’ [or other such] crossings, such as territorial invasion or war” (Lo and Gilbert 32). With the definition of intercultural exchange already being in contested terrain, is it possible to find a framework to analyze theatrical practices that sit at the dividing line between two cultures, two traditions, two distinct forms? Can an equal partnership exist in cross-cultural exchanges, without one absorbing, appropriating or rendering banal the other? To answer this question and for the purpose of this discussion, I have divided my thesis into three chapters. e first deals with a full synthesis of highly influential texts on intercultural theatre, including Patrice Pavis’ eatre at